Protest music, populism, politics and authenticity

MyBook is a cheap paperback edition of the original book and will be sold at uniform, low price.

Buy this article

Price: £15.00+Taxes
Add to favourites

The limits and potential of popular music’s articulation of subversive politics

The full text of this article is not currently available.

Data & Media loading...


Full text loading...


Abousnnouga, Gill and Machin, David
2010 “Analysing the language of war monuments”. Visual Communication9 (2): 131–149. doi: 10.1177/1470357210369884
Amnesty International
Amnesty International 2013.“Gezi Park protests: Brutal denial of the right to peaceful assembly in Turkey.” Accessed on12 February 2013,
Barış, Ruken
2010 “Media Landscape: Turkey”. Accessed19 December 2011,
Carpentier, Nico
2007 “Populaire toegang en toegankelijkheid in de massamedia: publiek debat of demagogisch populisme? Een (de)constructieve dialoog met ‘Populisme'.’’ Advocare15: 47–74.
de Bellaigue, Christopher
2013 “Turkey: surreal, menacing…pompous.” New York Review of Books, accessed2 March 2013,
De Cleen, Benjamin and Carpentier, Nico
2010 “Contesting the populist claim on ‘the people’ throughpopular culture: the 0110 concerts versus the Vlaams Belang.” Social Semiotics20 (2): 175–196. doi: 10.1080/10350330903565899
Eriksson, Göran
2015 “Ridicule as a strategy for the recontextualization of the working class: A multimodal analysis of class-making on Swedish Reality Television”. Critical Discourse Studies12 (1): 20–38. doi: 10.1080/17405904.2014.962067
Freedom House
Freedom House 2014Freedom of the press 2014, accessed6 February 2015,
Frith, Simon
1981Sound Effects. New York: Pantheon books.
1988 “Art ideology and pop practice.” InMarxism and the interpretation of culture, edited by Grossberg and Nelson . Chicago: University of Illinois Press. doi: 10.1007/978‑1‑349‑19059‑1_33
1993 “Youth/Music/Television.” InSound and vision, edited by Frith, Goodwin and Grossberg , 67–84. New York: Routledge.
Goodwin, Andrew
1993Dancing in the Distraction Factory: music television and popular culture. London: Routledge.
Grossberg, Lawrence
1987 “Rock and roll in search of an audience.” InPopular music and communication, edited by Lull . Beverly Hills: Sage.
Halliday, M.A.K.
1985An Introduction to Functional Grammar. London: Edward Arnold.
Hallin, Dan and Mancini, Paulo
2004Comparing media systems: three models of media and politics. Cambridge: Cambridge University Press. doi: 10.1017/CBO9780511790867
Hebdige, Dick
1979Subculture: The meaning of style. Suffolk: Metheun & co.
Hesmondhalgh, David and Negus, Keith
2002 “Popular music studies: meanings, power and value.” InPopular Music Studies, edited by Hesmondhalgh and Negus , 1–10. London: Arnold.
Hibbett, Ryan
2005 “What is indie rock?” Popular music and society28 (1): 55–77. doi: 10.1080/0300776042000300972
Hudson, Alexandra
2013 “Woman in red becomes leitmotif for Istanbul’s female protesters.” Reuters, accessed4 June 2013,
Huq, Rupa
2002 “Raving not drowning: authenticity, pleasure and politicsin the electronic dance scene.”InPopular Music Studies, edited by Hesmondhalgh and Negus , 90–102. London: Arnold.
Jenkins, Gareth
2012 “A house divided against itself: the deteriorating state of media freedom in Turkey.” Central Asia-Caucasus Instituteaccessed2 February 2012,
Kress, Gunter and Van Leeuwen, Theo
1996Reading İmages: The Grammar of visual design. London, Routledge.
Kress, Gunter and van Leeuwen, Theo
2001Multimodal discourse: the modes and media of contemporary communication. London: Hodder Education.
Laclau, Ernesto
2005On Populist Reason. London: Verso.
Lynskey, Dorian
201033 revolutions per minute: a history of protest songs. London: Faber.
Machin, David
2007Introduction to multimodal analysis. London: Hodder Education.
2010Analysing popular music: Images, sound, text. London: Sage. doi: 10.4135/9781446280027
Machin, David and Richardson, John
2012 “Discourses of unity and purpose in the sounds of fascist music: a multimodalapproach.” Critical Discourse Studies9 (4): 329–345 doi: 10.1080/17405904.2012.713203
Machin, David and van Leeuwen, Theo
2005 “Computer games as political discourse: the case of Black Hawk Down.” Journal of Language and Politics4 (1): 119–141. doi: 10.1075/jlp.4.1.06mac
Moore, Allan
2002 “Authenticity as authentication.” Popular music2 (2): 209–223.
Özguneş, Neslihan and Terzis, Georgios
2000 “Constraints and remedies for journalists reporting national conflict: The case of Greece and Turkey.” Journalism Studies (3): 405–426. doi: 10.1080/14616700050081759
Railton, Diane and Watson, Paul
2011Music video and the politics of representation. Edinburgh: Edinburgh University Press. doi: 10.3366/edinburgh/9780748633227.001.0001
Solomon, Thomas
2005 “Living underground is tough’:Authenticity and locality in the hip-hop community in Istanbul,Turkey.” Popular MusicVolume 24 (1) :1–20. doi: 10.1017/S0261143004000273
Storey, John
2003Cultural theory and popular culture. An introduction. Harlow: PearsonEducation.
Street, John
1986Rebel rock: The politics of popular music. Oxford: Basil Blackwood.
Sümer, Çağdaş and Yaşlı, Fatih
2010Hegemonyadan Diktoryaya AKP ve Liberal-Muhafazakar İttifak. Ankara: Tan Kitapevi Yayınları.
Tagg, Philip
1983Nature as a musical mood category. Göteborg: IASPM Internal Publications. Accessed5 January 2011,
1984 “Understanding musical time sense.” InTvarspel – Festskrift for Jan Ling (50 a°r). Goteborg: Skriften fran Musikvetenskapliga Institutionen. Accessed5 January 2011,
1990 “Music in mass media studies. Reading sounds for example.”InPopular Music Research 2, edited by Roe and Carlsson . Göteborg: Nordicom-Sweden.
Traynor, Ian and Letsch, Constanze
(2013) “Turkey divided more than ever by Erdoğan’s Gezi Park Crackdown.” The Guardian, accessed11.02.2015,
Uzgel, İlhan and Duru, Bülent
2010AKP Kitabı Bir Dönüşümün Bilançosu. Ankara: Pheoenix Yayınevi.
van Dijk, Teun
1993 “Principles of Critical Discourse Analysis. ”Discourse and Society4 (2): 249–283. doi: 10.1177/0957926593004002006
van Leeuwen, Theo
1995 “Representing social action. ”Discourse and society6 (1): 81–106. doi: 10.1177/0957926595006001005
1996 “The representation of social actors.” InTexts and Practices – Readings in Critical Discourse Analysis, edited by Caldas-Coulthard and Coulthard , 32–70. London: Routledge.
1999Speech, music, sound. London:Macmillan Press. doi: 10.1007/978‑1‑349‑27700‑1
2005Introducing social semiotics. London: Routledge.
Way, Lyndon
2012 “Pop’s subversive potential: Turkish popular music videos as a multi-modal site of resistance.” Multimodal Communication1 (3): 251–275
2013 “Discourses of popular politics, war and authenticity in Turkish pop music.” Social Semiotics. 23 (5): 715–734. doi: 10.1080/10350330.2013.819723
2014 “Özgünlük ve Direniş Hikayeleri: Popüler Müzikte Protesto Potansiyeli”. Kültür ve İletişim Dergisi. 17 (1): 39–68.
Way, Lyndon and Gedik, Ali
2013 “Music and Image: Popular Music’s Resistance to Conservative Politics. ”Paper presented atEge University 14th cultural studies symposium – Confinement, Resistance, Freedom. İzmir, TurkeyMay 8–10.
Williams, Raymond
1976Key Words. London: Fontana Press.
Wingstedt, Johnny , Brandstrüm, Sture , and Berg
, Jan. 2010 “Narrative Music, Visuals and Meaning in Film. ”Visual Communication9 (2): 193–210 doi: 10.1177/1470357210369886
Wright, Will
1975Six Guns and Society: A structural study of the western. University of California Press.
Yeşiltaş, Murat
2009 “Soft balancing in Turkish foreign policy: the case of the 2003 Iraq War.” Perceptions14 (1): 25–51.
This is a required field
Please enter a valid email address